Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83

Furuhjelm, Erik (Gustaf)

(b Helsinki, 6 July 1883; d Helsinki, 13 June 1964). Finnish composer. He studied the violin and music theory at the Helsinki Philharmonic Orchestra School with Anton Sitt and Sibelius, then at the Helsinki Music School, with Viktor Nováček and Wegelius until 1906, completing his education in Munich and Paris. He taught music theory, history and composition at the Helsinki Music School until 1935 and wrote on music for several Swedish-language newspapers and magazines in Helsinki. The harmonic language of his work developed in the 1920s but remained within extended tonality. In 1916 Furuhjelm published a study on Sibelius which offered acute observations on his music.

WORKS

Orch: Sym. no.1, D, 1906, rev. 1911; Fantastic Ov., 1910, lost; Romantic Ov., 1911; A modo di concerto, pf, orch, 1911, lost; Intermezzo e pastorale, 1920, rev. 1924; Exotica (Five Pictures), 1924, rev. 1925, rev. 1935; Fantasia elegiaca, vn, orch, 1924–5, lost; Sym. no.2, e, 1925, rev. 1927; Folklig svit [Rustic Suite], str, 1939; Minuet, str, 1940; Solitude, 1940; Elegia, str, ?1942; 5 Impromptus, ?1942

Chbr: Pf Qnt, 1906; Str Qt, 1949, rev. 1956

Vocal: Klockringning, SATB, pf, 1903; Fuga, A, pf, ?1905

BIBLIOGRAPHY

E. Salmenhaara, ed.: Suomalaisia säveltäjiä (Helsinki, 1994)

E. Salmenhaara: Kansallisromantiikan valtavirta [The mainstream of national romanticism], Suomen musiikin historia [A history of Finnish music], ii (Porvoo, 1996)

ILKKA ORAMO

Fusa (i).

In Latin, the term for Quaver; in Spanish, the term for Demisemiquaver. See also Note values.

Fusa (ii).

Term used for Panpipes among indigenous groups and their descendants in the puna (high plateau) of north-west Argentina.

Fuselier [Fusellier, Fusillier], Louis.

See Fuzelier, Louis.

Fusella

(Lat.).

See Demisemiquaver (32nd-note). See also Note values.

Fusellala

(Lat.).

See Hemidemisemiquaver (64th-note). See also Note values.

Fusetti, Giovanni [Gian] Paolo

(b ?Monza; d Udine, June 1690). Italian composer and Friar Minor Conventual. From at least 1657 he was organist at S Francesco, Este, and on 30 June 1658 he was appointed maestro di cappella at Montagnana (Padua). He was organist in the convent and church of S Lorenzo in Vicenza from June 1660, and then, from 1 July 1662, at the convent of the Frari in Venice. On 16 June 1664 he was appointed maestro di cappella of Udine Cathedral, remaining in this post until his death; he was also responsible for teaching music to the girls of the nearby Casa Secolare delle Zitelle, and, from 1674 to 1687, held the post of first organist of the cathedral.

WORKS

operas

Iphide greca (N. Minato), Udine, Contarini, 14 Jan 1672, music lost, lib, I-Vcg, in Venetian version with music by Partenio, Freschi and G. Sartorio, Fusetti composed only the roles of Osirio and Lubione

sacred

Cum invocarem, 4vv, 2 vn ad lib, bc, GB-Och

Dixit Dominus, 6vv, 2 vn, b, bc, Och

Exurgite mortales, S, 3 vn, va, vc, bc, Och, anon., ? by Fusetti

In te Domine speravi, 4vv, 2 vn, bc, Och

Magnificat, 4vv, 2 vn, bc, Och

Salmi di terza (Legem pone mihi Domine, Memor esto verbi tui, Bonitatem fecisti cum servo tuo), 8vv, vle, theorbo, org, I-UD

Salmi di terza, 4vv, inst(s), lost, mentioned in Inventario

BIBLIOGRAPHY

AllacciD

DEUMM

Grove6 (T. Walker)

LaMusicaD

RicordiE

SartoriL

G. Vale: ‘La cappella musicale del duomo di Udine’, NA, vii (1930), 87–201

R. Casimiri and S. Rinaldi: ‘Musicisti dell'ordine francescano dei minori conventuali dei sec. XVI–XVIII’, NA, xvi (1939), 186–99, 238–50, 274–5

C. di Sopra, L. Baldini and L. De Biasio: Inventario del fondo musicale della cappella del duomo di Udine sec. XVII–XX (MS, c1973–5, I-UD)

A. Sartori: Documenti per la storia della musica al Santo e nel Veneto (Vicenza, 1977)

A. Albanese and P.P. Scattolin: La cappella musicale di Montagnana (forthcoming)

FRANCO COLUSSI

Fuss

(Ger.).

See Endpin.

Fuss, Johann Evangelist.

See Fusz, János.

Füssen.

Town in Bavaria, Germany. It belonged to the see of Augsburg until 1802, and was the seat of a Benedictine monastery founded in the 8th century by St Magnus. Some of the abbey’s musical documents date from the early Middle Ages, but most belong to the late Middle Ages, among them the first treatise on polyphonic Passion singing. From 1395 the church at St Mang possessed its own organ. At the beginning of the 16th century Emperor Maximilian I, with his court musicians, was a frequent guest at the prince-bishop’s castle and the Füssen monastery. In the following decades the monastery engaged the service of a salaried organist, and Cardinal Otto Truchsess von Waldburg insisted on the installation of a precentor. Fragments of late-Renaissance prints and manuscripts have been discovered at the monastery, containing pieces by Lassus, Sermisy, Paminger, Ferretti, Ambrosius Reiner and Alexius Neander. The choirmasters Judas Thaddäus Schnell and Paul Baudrexel were responsible for the early musical education of the local composers Benedikt Lechler (director of music in Kremsmünster 1628–51) and Philipp Jakob Baudrexel (later cathedral choirmaster in Augsburg and Mainz). Abbot Gallus Zeiler was the monastery’s most important musician; between 1732 and 1740 he published various sacred pieces, and in 1752 he instigated the building of a new organ in the monastery chapel. The abbey was suppressed in 1802.

Füssen has supported a thriving instrument-making industry for several centuries. The organ builders Hans Schwarzenbach (d 1605), Andreas Jäger (1704–73), Josef Pröbstl (1798–1866), Balthasar Pröbstl (1830–95) and Hermann Späth (1867–1917) built organs for many churches in southern Germany and the Alpine countries. The lute and violin makers were even more significant, being established in the town from 1436. In 1562 the local lute makers founded their own guild, the first of its kind in Europe; in 1618 it had 18 masters. From the 16th century onwards large numbers of lute and violin makers from the Füssen area moved to European musical and commercial centres; the Tieffenbruckers went to Lyons, Paris, Venice, Padua, Perugia and Nuremberg, the Gerles to Nuremberg, Innsbruck and Linz, the Pfanzelts to Rome and Strasbourg, the Railichs to Venice, Genoa and Brescia and the Fendts to Paris and London. The violin-making tradition in Füssen declined in the mid-19th century, though since 1982 instruments have again been made in the town.

Wherever they settled the Füssen masters were pioneers in the industry, and without them the lute- and violin-making crafts of Padua, Brescia, Cremona, Mittenwald and elsewhere would never have flourished as they did. Their instruments are major treasures of internationally famous collections.

BIBLIOGRAPHY

MGG2 (E. Tremmel)

A. Layer: ‘Zur Musikpflege des Benediktinerklosters St Mang in Füssen’, Jb des Vereins für Augsburger Bistumsgeschichte, vi (1972), 241–53

A. Layer: Die Allgäuer Lauten- und Geigenmacher (Augsburg, 1978)

E. Tremmel: ‘Der Niedergang des Musikinstrumentenbaus in Füssen und Umgebung im 19. Jahrhundert’, Alt-Füssen (1989), 128–38

M. Thalmair: ‘Die Meister des Füssener Orgelbaus’, Alt-Füssen (1990), 177–90

E. Tremmel: ‘Zeugnisse der Musikpflege im ausgehenden 16. und frühen 17. Jahrhundert im Kloster St. Mang in Füssen’, Neues Musikwissenschaftliches Jb, i (Augsburg, 1993), 27–68

ADOLF LAYER/ERICH TREMMEL